Ever So Android

"Ever So Android’s mixture of the distorted programming of Pretty Hate Machine-era Nine Inch Nails and the glitchier strands of the current EDM movement forms a tempestuous brand of electro-rock that’s as dangerous as it is alluring."

KEXP Song of the Day podcast

"ever so android’s Self-Titled is the most exciting EP I’ve heard all year."

The Stranger

"A compact but alarmingly well-put-together self-titled debut."

Seattle Weekly

King's Pick

Kings of A and R

"Pressing guitar rhythms help to push the songs along while hypnotic vocals dance within each track and entrance anyone lucky enough to get within earshot....All in all, the band is hauntingly entertaining to watch live but if readers can’t catch the duo in person then Ever So Android’s new album will have to do."

Cascade A&E

"Lead singer Hope Simpson and guitarist Drew Murray build on eruptive guitar and markedly poppy bass lines that might have music purists changing their minds. Simpson has the emotional imprint of Karen O's lucid misgivings throughout her vocals, with Murray creating a euphonious foundation from which Simpson soars."

Boise Weekly

"Seattle duo Ever So Android pits the assailant vocals of Hope Simpson against the guitars, electronics and programmed drums of Drew Murray."

Indy Week

"(they) sound as if Karen O went on a date with the Nine Inch Nails and picked up some Postrock on the way (just to be safe). "

"It is a pretty amazing experience. Their sincerity and showmanship comes through immediately, and it’s impossible not to dance. They hold nothing back. I left that show with a new belief in this new music they created. What they do would be nearly impossible to imitate, which may be a part of their current success. Drew Murray has been in many bands, this is Hope Simpson’s first. That dynamic plays out as well. His ego comes through the music, and her energy as a front person is pure charisma."

Wonder and Risk

"The new single cements the band’s burgeoning reputation for effortlessly meshing soul and the blues with electro rock, thanks to Hope Simpson’s soulful and expressive vocals, driving rhythm, Drew Murray’s buzzing power chords and swirling, industrial electronics."

Joy of violent movement

"True to form, the song features their signature electro-rock sound that combines deep bass synths with a driving rock beat and soaring vocals. Consisting of guitarist Drew Murray and power vocalist Hope Simpson, this two piece rock outfit has a sound that is both powerful and creative."

Substance is meaningless

"With all this Phantogram talk we’ve been sniffing around for another wicked male/female-electro/rock duo, and luckily this Seattle-based group delivered."

Rex Manning Day

"It's very hard to find something out there quite as striking or instantly individual as Seattle electro-rock duo Ever So Android"

Drunken Werewolf

"Ever So Android is heavy, raw and unlike anything you’re likely to have heard before."

The Olympian

"Leash, a down and dirty, grimy indie electro track that will appeal to fans of St Vincent, needs to be played loud."

Fecking Deadly

"Hope Simpson and guitarist Drew Murray build on eruptive guitar and markedly poppy bass lines that might have music purists changing their minds. Simpson has the emotional imprint of Karen O's lucid misgivings throughout her vocals, with Murray creating a euphonious foundation from which Simpson soars."

Boise Weekly

"The duo's electronic rock might put music purists on the fence."

Mail Tribune

"In a nutshell, this track is a wonderful break from the various kinds of music emerging from all sides of the world. Make sure to watch out for their future offerings because if this track is any indication, it will be an awesome ride."

Wild Powwers

WILD POWWERS are 3 Seattle kids who “specialize in the sort of carefree grunge riff-rock that gets better the dirtier it gets. Each layer of meticulously gnarly distortion, each off-kilter lyric, drenched in garage-echo reverb, is pure Pacific Northwest filth” - KEXP.

This dynamic trio has been staying busy touring, while anticipating the release of their third album, "Skin", recorded by the legendary Billy Anderson, (Jawbreaker, Melvins, Neurosis). Their four years as a band has brought them around the country twice, playing festivals such as SXSW and Savannah Stopover Fest, opening for amazing bands like The Fall Of Troy, Kylesa, Dilly Dally, Helms Alee and No Age and playing such venues as The Fonda Theater and The Fillmore. WILD POWWERS has developed a glam creep strut that we have come to love them for. Get into it.

The Little Miss

Looking to capture the apple pie-eyed idealism of traditional Americana music, The Little Miss can be most accurately described as a romantic, twenty-first century take on a seemingly simpler time. With roots in jazz, blues and folk music, the sound of The Little Miss ranges from the gritty guitar riffs of the old west to one-take, twangy samplings straight from the plains. Influences include Woody Guthrie's simplicity, Frank Sinatra's theatrical nature, Cole Porter's wit, Billie Holiday's pain, and Bob Dylan's right foot.

DRÆMINGS DJ Set

Music and magic go hand-in-hand. They both surround us. They’re both intangible. They both can be life-changing. DRÆMINGS, the musical incarnation of singer and multi-instrumentalist Kimi Recor, conjures up an indescribable, intoxicating, and infectious post punk-kissed alternative on her 13-track Sumerian Records debut, The Eternal Lonesome. Produced by Eric Palmquist [The Bad Suns, Trash Talk, Night Riots] and featuring performances by A Perfect Circle’s Jeff Friedl [drums] and Matt McJunkins [bass], it explores what the songstress describes as a, “Period of heartbreak” through lush instrumentation and a siren vocal swell.
Long before that broken heart, Kimi spent her childhood in the idyllic woods outside of Munich. She discovered music via an Ace of Base cassette tape, which she played until it warped. Relocating to a Colorado suburb, the budding artist dealt with the culture shock by retreating into the sounds of The Cure, Siouxsie and the Banshees, and My Bloody Valentine.
Stealing away to San Francisco at 17-years-old, she taught herself guitar, keys, bass, and drums and began playing in projects around the local scene. After a dark spell in New York mired in addiction, she returned west, kicked the habit, and immersed herself in creating. A final move saw her trade San Francisco for Los Angeles.
Over the course of one weekend after what she refers to as “biggest breakup I’ve gone through,” she wrote and recorded DRÆMINGS’ five-song demo entirely on her own.
“It was the first time I’d ever done anything without a band from writing and recording to performing,” she recalls. “That’s how DRÆMINGS began.”
Sumerian Records stumbled upon the demo’s Soundcloud page and offered her a deal. Signing to the label, she dove right into making The Eternal Lonesome. Now, its first single “Area 51” shuffles between eighties-style synths and a heavy backbeat into her entrancing howl.
“I wrote it about being in love with somebody who’s also a musician,” Kimi explains. “When you love someone who’s a traveling artist, you always know that person is a going to leave. It’s only semi-permanent. The two of you are never going to be in the same place at the same time for long. It’s vagabond love. You let people go, and you’re okay with it. I’ve always been with artists and had to accept they’re going to love their art more than they love me, because I love my art more than anyone.”
The title encapsulates an overarching theme for the entire body of work. “It’s a summation of this part of my life,” she goes on. “We all feel that way. Loneliness is the human condition. It’s why we’re on dating apps and always trying to meet people. It’s what motivates us and drives us to move forward to succeed. That eternal feeling will always be inside us. I don’t think it’s a negative thing. Loneliness is such a beautiful inspiring thing. I want to share that.”
Fall under DRÆMINGS’ wonderfully dark spell.